Keaun Guy Resume

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KEAUN B. GUY Email: [email protected] Phone: (973) 980-5492 ACHIEVEMENTS The Benjamin A. Matthews Vocal Competition 2014 Finalist New Jersey State Opera Alfredo Silipigni Vocal Competition Encouragement Award 2014 Encouragement Award for The Eastern District Region Metropolitan Vocal Council Auditions 2013 The Northeast District Vocal Arts Competition for Emerging Artiste 2011 (1st Place) The North Jersey Unit of The National Association of Negro Business and Professional Women’s Club Inc. The 26th Vocal Arts Competition for Emerging Artiste 2011 (1st Place) The North Jersey Unit of The National Association of Negro Business and Professional Women’s Club Inc. The 26th Vocal Arts Competition for Emerging Artiste 2010 (2nd Place)Place) THEATRE PERFORMANCES 2016 Hindemith's Mathis Der Maller (chorus) NJ Garden State Opera 2016 Weber's Abu Hassan (chorus) NJ Garden State Opera 2016 Imoinda ( chorus) by Odaline De La Martinez Opera Ebony 2016 Five (Khorey) Music by Anthony Davis, Trilogy and Opera Company Libretto by Richard Wesley 2014 La Traviata Prelude To Performance (chorus) Martina Arroyo Foundation 2014 I Pagliacci by Ruggero Leoncavallo (Canio cover) New York City Vocal Productions 2013 Ernani by Giuseppe Verdi (Ernani) New York City Vocal Productions 2013 Papa Doc by Dorothy Rudd Moore (Marcel Numa) Trilogy and Opera Company 2012 L’Elisir D’Amore by Gaetano Donizetti (Chorus) New York City Vocal Productions 2012 The Mask in the Mirror by Richard Thomson (Narrator) Trilogy and Opera Company 2011 Harriet a Woman called Moses by Dorothy Rudd Moore Trilogy and Opera Company 2011 Frederick Douglas by Thea Mufgrave Trilogy and Opera Company 2011 Treemonisha (Andy) by Scott Joplin Trilogy and Opera Company 2010 The Ballad of James Byrd by Michael Raphael Trilogy and Opera Company 2010 4 An opera based on the murder of four little girls Trilogy and Opera Company Attending Sunday school in Birmingham Alabama 2007 Rigoletto (Duke, selective scenes) Caldwell College Opera Workshop 2006 Magic Flute (Tamino selective scenes) Caldwell College Opera Workshop EDUCATION 2009 - 2010 Essex County College Newark, NJ 2001 - 2005 Bloomfield High School Bloomfield, NJ COACHES Mary Pinto (present) Ivan Thomas Donald Morris VOICE COACHES Valentin Peytchinov Dr. Jerry Fordahase Curtis T. Watkins Dr. Laura Greenwald (present) .

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Verdi Week on Operavore Program Details
Verdi Week on Operavore Program Details Listen at WQXR.ORG/OPERAVORE Monday, October, 7, 2013 Rigoletto Duke - Luciano Pavarotti, tenor Rigoletto - Leo Nucci, baritone Gilda - June Anderson, soprano Sparafucile - Nicolai Ghiaurov, bass Maddalena – Shirley Verrett, mezzo Giovanna – Vitalba Mosca, mezzo Count of Ceprano – Natale de Carolis, baritone Count of Ceprano – Carlo de Bortoli, bass The Contessa – Anna Caterina Antonacci, mezzo Marullo – Roberto Scaltriti, baritone Borsa – Piero de Palma, tenor Usher - Orazio Mori, bass Page of the duchess – Marilena Laurenza, mezzo Bologna Community Theater Orchestra Bologna Community Theater Chorus Riccardo Chailly, conductor London 425846 Nabucco Nabucco – Tito Gobbi, baritone Ismaele – Bruno Prevedi, tenor Zaccaria – Carlo Cava, bass Abigaille – Elena Souliotis, soprano Fenena – Dora Carral, mezzo Gran Sacerdote – Giovanni Foiani, baritone Abdallo – Walter Krautler, tenor Anna – Anna d’Auria, soprano Vienna Philharmonic Orchestra Vienna State Opera Chorus Lamberto Gardelli, conductor London 001615302 Aida Aida – Leontyne Price, soprano Amneris – Grace Bumbry, mezzo Radames – Placido Domingo, tenor Amonasro – Sherrill Milnes, baritone Ramfis – Ruggero Raimondi, bass-baritone The King of Egypt – Hans Sotin, bass Messenger – Bruce Brewer, tenor High Priestess – Joyce Mathis, soprano London Symphony Orchestra The John Alldis Choir Erich Leinsdorf, conductor RCA Victor Red Seal 39498 Simon Boccanegra Simon Boccanegra – Piero Cappuccilli, baritone Jacopo Fiesco - Paul Plishka, bass Paolo Albiani – Carlos Chausson, bass-baritone Pietro – Alfonso Echevarria, bass Amelia – Anna Tomowa-Sintow, soprano Gabriele Adorno – Jaume Aragall, tenor The Maid – Maria Angels Sarroca, soprano Captain of the Crossbowmen – Antonio Comas Symphony Orchestra of the Gran Teatre del Liceu, Barcelona Chorus of the Gran Teatre del Liceu, Barcelona Uwe Mund, conductor Recorded live on May 31, 1990 Falstaff Sir John Falstaff – Bryn Terfel, baritone Pistola – Anatoli Kotscherga, bass Bardolfo – Anthony Mee, tenor Dr.
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A Unique Opportunity to Learn and Perform a Complete Opera Role In
TUITION: FREE!! While tuition is free, housing and living expenses are the responsibility of the participants. Information about housing for participants from outside New York City will be available. APPLICATION You may download an application from our web site: www.martinaarroyofdn.org La Rondine La Rondine THE MISSION STATEMENT The Mission of The Martina Arroyo Founda- tion is to prepare and counsel young singers in the interpretation of complete operatic roles for public performance. The Foundation guides each singer in the preparation of an entire operatic role through a formal educational process that includes the background of the drama, the historical per- spective, the psychological motivation of each character, and language proficiency. A unique opportunity to Martina Arroyo Foundation, Inc. learn and perform The Martina Arroyo Foundation, Inc. is a tax-exempt, nonprofit organization under Sec. 501 (c) (3) of the Inter- a nal Revenue Code. Complete Opera Role ——————————————————————- in The Martina Arroyo Foundation, Inc. Martina Arroyo, President and Artistic Director New York City P.O. Box 2015 Radio City Station, NY, NY 10101 Tel: 212-315-9190 Fax: 212-397-7257 June 4 to July 16, 2012 Email: [email protected] Web: www.martinaarroyofdn.org Production Photos by Jen Joyce Davis Staff: PRELUDE TO PERFORMANCE PROGRAM OUTLINE Martina Arroyo Artistic Director and Role Class Prelude to Performance is a professional training program The first four weeks will be dedicated to sessions, staging, Mark Rucker Administrative Director for select young singers to experience role preparation individual coaching, masterclasses with professionals like Willie A. Waters Music Director guided by a team of opera professionals.
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Il Trovatore Was Made Stage Director Possible by a Generous Gift from Paula Williams the Annenberg Foundation
ilGIUSEPPE VERDItrovatore conductor Opera in four parts Marco Armiliato Libretto by Salvadore Cammarano and production Sir David McVicar Leone Emanuele Bardare, based on the play El Trovador by Antonio García Gutierrez set designer Charles Edwards Tuesday, September 29, 2015 costume designer 7:30–10:15 PM Brigitte Reiffenstuel lighting designed by Jennifer Tipton choreographer Leah Hausman The production of Il Trovatore was made stage director possible by a generous gift from Paula Williams The Annenberg Foundation The revival of this production is made possible by a gift of the Estate of Francine Berry general manager Peter Gelb music director James Levine A co-production of the Metropolitan Opera, Lyric Opera of Chicago, and the San Francisco principal conductor Fabio Luisi Opera Association 2015–16 SEASON The 639th Metropolitan Opera performance of GIUSEPPE VERDI’S il trovatore conductor Marco Armiliato in order of vocal appearance ferr ando Štefan Kocán ines Maria Zifchak leonor a Anna Netrebko count di luna Dmitri Hvorostovsky manrico Yonghoon Lee a zucena Dolora Zajick a gypsy This performance Edward Albert is being broadcast live on Metropolitan a messenger Opera Radio on David Lowe SiriusXM channel 74 and streamed at ruiz metopera.org. Raúl Melo Tuesday, September 29, 2015, 7:30–10:15PM KEN HOWARD/METROPOLITAN OPERA A scene from Chorus Master Donald Palumbo Verdi’s Il Trovatore Musical Preparation Yelena Kurdina, J. David Jackson, Liora Maurer, Jonathan C. Kelly, and Bryan Wagorn Assistant Stage Director Daniel Rigazzi Italian Coach Loretta Di Franco Prompter Yelena Kurdina Assistant to the Costume Designer Anna Watkins Fight Director Thomas Schall Scenery, properties, and electrical props constructed and painted by Cardiff Theatrical Services and Metropolitan Opera Shops Costumes executed by Lyric Opera of Chicago Costume Shop and Metropolitan Opera Costume Department Wigs and Makeup executed by Metropolitan Opera Wig and Makeup Department Ms.
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Straight up with a Twist
FEATURES OCTOBER 2006 - VOL. 71. NO. 4 Martina - Straight Up With a Twist Is there life after Verdi? In her newest role as director of the "Prelude to Performance" workshop, Martina Arroyo answers with a resounding "Sì." SCOTT BARNES report The first thing that strikes you about Martina Arroyo is how beautifully she is put together - perfect coif- fure, tasteful makeup, elegantly tailored clothes, just the right jewelry. It comes as a bit of a surprise if you're familiar with her self- deprecating presence during more than twenty appearances on The Tonight Show in the Carson years. "Oh, no one remembers me!" (said without false modesty or fishing for reassurance, despite her twenty seasons at the Met). Not a vanity- sized designer "zero," Arroyo is smart, funny, charming, flirtatious, with a seri- Charles Caine suits up ousness of purpose and a devotion to young singers that underpins all the wise- cracking. Never content to Dino Wu as Malatesta rest on her laurels as a world-class soprano, she has a new "baby" - a role-preparation workshop of approxi- mately thirty singers called "Prelude to Performance," a destination for young professionals who seek guid- ance in more than just singing technique. In the program's 2006 season, five weeks of classes and rehearsals in June and July culminated in fully-staged performances of Don Giovanni and selected acts from Don Pasquale, Madama Butterfly and Falstaff at Manhattan's El Teatro Heckscher. ON: What level of singer is "Prelude" attracting? MA: Most of them have performed at universities or other programs; usually they have done only scene work, or learned a role quickly.
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Symposium Program
THE VOICE FOUNDATION THE VOICE FOUNDATION 42nd Annual Symposium CARE OF THE PROFESSIONAL VOICE Symposium Program MAY 29—JUNE 2, 2013 PHILADELPHIA, PA Jointly sponsored by The Voice Foundation and American College of Surgeons in collaboration with Drexel University College of Medicine, Temple University, The American Institute for Voice and Ear Research and the Academy of Vocal Arts. PROGRAM COMMITTEES CHAIRMAN SCIENTIFIC PROGRAM MEDICAL PROGRAM Robert Thayer Sataloff, M.D., D.M.A., F.A.C.S Christy L. Ludlow Michael S. Benninger Ronald C. Scherer Michael M. Johns, III SPEECH-LANGUAGE PATHOLOGY PROGRAM Nancy P. Solomon Robert T. Sataloff Thomas Murry Johan Sundberg Robert T. Sataloff VOCAL PEDAGOGY PROGRAM Robert T. Sataloff Accreditation Statement THE VOICE FOUNDATION This activity has been planned and implemented in accordance with the Essential Areas BOARD OF DIRECTORS and Policies of the Accreditation Council for Continuing Medical Education through the joint sponsorship of the American College of Surgeons and the Voice Foundation. The CHAIRMAN American College of Surgeons is accredited by the Robert Thayer Sataloff, ACCME to provide continuing medical education for M.D., D.M.A., F.A.C.S. physicians. AMA PRA Category 1 Credits™ PRESIDENT The American College of Surgeons designates this live Leon Fassler activity for a maximum of 22 AMA PRA Category 1 Credits™. Physicians should claim only the credit SECRETARY commensurate with the extent of their participation in Mary Hawkshaw the activity. TREASURER Disclosure Information GENERAL C OUNSEL In compliance with ACCME Accreditation Criteria, the Brian P. Flaherty, Esq. American College of Surgeons, as the accredited provider of this activity, must ensure that anyone in a American College of Surgeons CHAIRMAN, position to control the content of the educational Division of Education ADVISORY BOARD activity has disclosed all relevant financial relationships Michael S.
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Bill T. Jones / Arnie Zane Dance Company
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John Conklin • Speight Jenkins • Risë Stevens • Robert Ward John Conklin John Conklin Speight Jenkins Speight Jenkins Risë Stevens Risë Stevens
2011 NATIONAL ENDOWMENT FOR THE ARTS 1100 Pennsylvania Avenue, NW Washington, DC 20506-0001 John Conklin • Speight Jenkins • Risë Stevens • Robert Ward John Conklin John Conklin Speight Jenkins Speight Jenkins Risë Stevens Risë Stevens Robert Ward Robert Ward NATIONAL ENDOWMENT FOR THE ARTS 2011 John Conklin’s set design sketch for San Francisco Opera’s production of The Ring Cycle. Image courtesy of John Conklin ii 2011 NEA OPERA HONORS Contents 1 Welcome from the NEA Chairman 2 Greetings from NEA Director of Music and Opera 3 Greetings from OPERA America President/CEO 4 Opera in America by Patrick J. Smith 2011 NEA OPERA HONORS RECIPIENTS 12 John Conklin Scenic and Costume Designer 16 Speight Jenkins General Director 20 Risë Stevens Mezzo-soprano 24 Robert Ward Composer PREVIOUS NEA OPERA HONORS RECIPIENTS 2010 30 Martina Arroyo Soprano 32 David DiChiera General Director 34 Philip Glass Composer 36 Eve Queler Music Director 2009 38 John Adams Composer 40 Frank Corsaro Stage Director/Librettist 42 Marilyn Horne Mezzo-soprano 44 Lotfi Mansouri General Director 46 Julius Rudel Conductor 2008 48 Carlisle Floyd Composer/Librettist 50 Richard Gaddes General Director 52 James Levine Music Director/Conductor 54 Leontyne Price Soprano 56 NEA Support of Opera 59 Acknowledgments 60 Credits 2011 NEA OPERA HONORS iii iv 2011 NEA OPERA HONORS Welcome from the NEA Chairman ot long ago, opera was considered American opera exists thanks in no to reside within an ivory tower, the small part to this year’s honorees, each of mainstay of those with European whom has made the art form accessible to N tastes and a sizable bankroll.
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Operas Performed in New York City in 2013 (Compiled by Mark Schubin)
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Body Against Body
Body Against Body photo: Alfredo Anceschi Thursday, June 23, 2011 at 8pm University Theater, 222 York Street, New Haven MONKEY RUN ROAD PROGRAM (1979, Reconstructed in 2011) Choreography by Bill T. Jones and BILL T. JONES/ARNIE ZANE DANCE Arnie Zane COMPANY Music composed by Helen Thorington Costumes by Liz Prince BILL T. JONES, Artistic Director Lighting by Robert Wierzel JEAN DAVIDSON, Executive Director JANET WONG, Associate Artistic Danced by Director Talli Jackson and Erick Montes Featuring PAUSE The Company: BLAUVELT MOUNTAIN (A Fiction) Talli Jackson, Paul Matteson, Erick (1980, Revised by Bill T. Jones, 2002) Montes, and Jennifer Nugent Choreography by Bill T. Jones and Arnie Zane Production Staff: Music composed by Helen Thorington Kyle Maude, Laura Bickford, Eric Costumes by Liz Prince Launer, Shoshanna Gross Lighting by Robert Wierzel Body Against Body is made possible Danced by with support from the Company’s Paul Matteson and Jennifer Nugent commissioning program, “Partners in Creation,” which includes the Body Against Body was following donors: the Argosy commissioned by The Institute of Foundation, Abigail Congdon and Joe Contemporary Art/Boston Azrack, Anne Delaney, Eleanor Friedman, Barbara and Eric Dobkin, Sandra and Gerald Eskin, Ruth and ABOUT THE Stephen Hendel, Ellen Poss, Jane Bovington Semel and Terry Semel and COMPANY Carol H. Tolan. Now in its 29th year, the Bill T. Jones/ Arnie Zane Dance Company was born out of an 11-year collaboration 66 International Festival of Arts & Ideas between Bill T. Jones and Arnie Zane Culture 2000,Bolgna, Italy); Blind Date (1948–1988). During this time, they (2006, Peak Performances at Mont- redefined the duet form and clair State University); Chapel/Chapter foreshadowed issues of identity, form (2006, Harlem Stage Gatehouse); and social commentary that would and Fondly Do We Hope… Fervently change the face of American dance.
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Nyco Renaissance
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Alessandra Marc, Soprano
For the convenience of concertgoers the Garden Cafe remains open until 6:oo pm. The use of cameras or recording equipment during the performance is not allowed. Please be sure that cell phones, pagers, and other electronic devices are turned off. Please note that late entry or reentry of The Sixty-fifth Season of the West Building after 6:30 pm is not permitted. The William Nelson Cromwell and F. Lammot Belin Concerts “Sixty-five, but not retiring” National Gallery of Art Music Department 2,588th Concert National Gallery of Art Sixth Street and Constitution Avenue nw Washington, DC Alessandra Marc, soprano Mailing address David Chapman, pianist 2000b South Club Drive Presented in honor of Landover, md 20785 Alexandre-Louis-Marie Charpentier (1856-1909) www.nga.gov October 15, 2006 Sunday Evening, 6:30 pm West Building, West Garden Court Admission free Program BRIEF PAUSE Hector Berlioz (1803-1869) Meredith Willson (1902-1984) Villanelle and Le spectre de la rose from Les nuits d’ete Till There Was You from The Music Man Henri Duparc (1848-1933) Rodgers (1902-1979) and Hammerstein (1895-1960) Phidyle This Nearly Was Mine from South Pacific Extase Irving Berlin (1888-1989) Benjamin Britten (1913-1976) I Got the Sun in the Morning from Annie Get Your Gun Les illuminations Phrase Rodgers and Hammerstein Antique I Loved You Once in Silence from Camelot Royaute Depart Harold Arlen (1905-1986) Somewhere over the Rainbow from The Wizard of Oz Gustave Charpentier (1860-1956) Depuis lejour from Louise Alan Jay Lerner (1918-1986) and Frederick Loewe
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By Martina Arroyo
Martina Arroyo’s Reflections on Samuel Barber In 1963, the New York Philharmonic commissioned Samuel Barber to compose Andromache’s Farewell. At the time, I had performed only in supporting roles at the Met, but was still relatively unknown. Many think Andromache was written for me from the start, but that is not so. Mr. Barber had already started to write it when he heard my audition with the conductor Thomas Schippers. Mr. Barber liked warm voices with floating tones and he thought I could do long pianissimos and crescendo into forte passages, so the part became mine. When I first sang Andromache for Mr. Barber, he commented, “So, that’s how it sounds.” This statement surprised me. Having labored to create the work, I assumed the composer already knew how it would sound. But, as Mr. Barber observed, “Until the voice breathes life into the music, you are never quite sure what it will be.” He had a great respect for performers and what they contributed to his work. Mr. Barber was very involved in my preparation for this role. He was present at rehearsals and we often worked at his home in Mount Kisco. Mr. Barber even took me to the great Valentina, who designed for Garbo, to be fitted for a costume. [I couldn’t afford a new one, so I used one made for me by designer, Malek of Vienna. Valentina added yards and yards of fabric in the royal color purple to be used as a stole and commanded me to, “Take the floor to you.” Mr.
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